Abstract
In the chapter White Bust, Black Bust. On the Late Works and Others, Vendula Fremlová focuses on faces and heads as a motif in Rada's work from the 1980s to the end of his life.
By drawing parallels from the area of the avant-garde, conceptual art and the neo-avant-garde, she demonstrates the intertextual, postmodern character of his late work. The usual interpretation of Rada's work has become stuck on terms such as cheerfulness, humour and joy.
His late work rejects that interpretation and offers multilayered contents and meanings.